KYRIES

Chapter:

CHAPTER 2 New Styles and Forms

Source:

MUSIC FROM THE EARLIEST NOTATIONS TO THE SIXTEENTH CENTURY

Author(s):

Richard Taruskin

The remaining “ordinary” chant, the Kyrie eleison, has a more complex—indeed, a somewhat puzzling—history. Its special status is evident first of all from its language: the
one Greek survival in the Latin Mass. Kyrie eleison means the same thing as Domine, miserere nobis: namely, “Lord, have mercy on us” (compare the middle part of the Gloria in Excelsis and the Agnus Dei refrain). It used
to be a common liturgical response, especially appropriate for use in the long series of petitions known as litanies, which
often accompanied processions. Pope Gregory the Great, in one of the few musically or liturgically significant acts that may
be firmly associated with his name, decreed in a letter that the formula Kyrie eleison should alternate with Christe eleison (“Christ [that is, Savior], have mercy on us”). By the ninth century, when the Frankish musicians went to work on the chant,
the Kyrie had been established as a ninefold acclamation: thrice Kyrie eleison, thrice Christe eleison, thrice Kyrie eleison.

Citation (MLA):

Richard Taruskin.
"Chapter 2 New Styles and Forms."
The Oxford History of Western Music.
Oxford University Press.
New York, USA.
n.d.
Web.
19 Dec. 2018.
<http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-002008.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 2 New Styles and Forms. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA.
Retrieved 19 Dec. 2018, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-002008.xml

Citation (Chicago):

Richard Taruskin.
"Chapter 2 New Styles and Forms."
In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press.
(New York, USA,
n.d.).
Retrieved 19 Dec. 2018, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-002008.xml

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